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This book examines the parallel histories of modern art and modern music and examines why one is embraced and understood and the other ignored, derided or regarded with bewilderment, as noisy, random nonsense perpetrated by, and listened to by the inexplicably crazed. It draws on interviews and often highly amusing anecdotal evidence in order to find answers to the question: Why do people get Rothko and not Stockhausen?

It's the summer of 1979. A fifteen-year-old boy listens to WNEW on the radio in his bedroom in Brooklyn. A monotone voice (it's the singer's) announces into dead air in between songs "The Talking Heads have a new album, it's called Fear of Music"; - and everything spins outward from that one moment. Jonathan Lethem treats Fear of Music; (the third album by the Talking Heads, and the first produced by Brian Eno) as a masterpiece - edgy, paranoid, funky, addictive, rhythmic, repetitive, spooky and fun. He scratches obsessively at the album's songs, guitars, rhythms, lyrics, packaging, downtown origins, and legacy, showing how Fear of Music hints at the directions (positive and negative) the band would take in the future. Lethem transports us again to the New York City of another time - tackling one of his great adolescent obsessions and illuminating the ways in which we fall in and out of love with works of art.

It's the summer of 1979. A fifteen-year-old boy listens to WNEW on the radio in his bedroom in Brooklyn. A monotone voice (it's the singer's) announces into dead air in between songs "The Talking Heads have a new album, it's called Fear of Music" - and everything spins outward from that one moment. Ã?Â Jonathan Lethem treats Fear of Music (the third album by the Talking Heads, and the first produced by Brian Eno) as a masterpiece - edgy, paranoid, funky, addictive, rhythmic, repetitive, spooky and fun. He scratches obsessively at the album's songs, guitars, rhythms, lyrics, packaging, downtown origins, and legacy, showing how Fear of Music hints at the directions (positive and negative) the band would take in the future. Lethem transports us again to the New York City of another time - tackling one of his great adolescent obsessions and illuminating the ways in which we fall in and out of love with works of art.

In This is Uncool, Garry Mulholland set out on a one-man mission to reclaim music 'criticism', to dispense with the idea of 'proper' records and celebrate the beauty of the pop single. Four years on, and the next logical step is Fear of Music: the 261 Greatest Albums Since Punk and Disco. Mulholland writes with such clarity as to bring it all back again, to have you searching out dusty old vinyl from the likes of The Specials, Stevie Wonder and the Smiths, as well as Television, Outkast and Earth Wind and Fire.--BOOK JACKET.

The battered body of an Afghan boy is found at the base of a cliff outside a remote village in Helmand Province, Afghanistan. Did he fall as most of the villagers think? Or is this the work of American soldiers, as others want to believe? Not far from the village, the US Army has set up a training outpost. Sofi, the boy's illiterate young mother, is desperate to find the truth about her son's death. But extremists move in and offer to roust the "infidels" from the region, adding new pressures and restrictions for the small village and its women. We hear two sides of this story. One is Sofi's. The other is that of US Army Special Ranger Joey Pearson, who is in this faraway place to escape a rough childhood and rigidly fundamentalist parents. In time, and defying all odds, Sofi secretly learns to read--with the help of Mita Samuelson, an American aid worker. Through reading, the Afghan woman develops her own interpretation of how to live the good life while discovering the identity of her son's murderer and the extremists' real purpose in her village. As they search for answers, Sofi, Joey, and Mita come to the same realization: in each of their separate cultures the urge to preserve a way of life can lead to a fundamentalism that destroys a society's basic values. From the Trade Paperback edition.

Music in Horror Film is a collection of essays that examine the effects of music and its ability to provoke or intensify fear in this particular genre of film. Frightening images and ideas can be made even more intense when accompanied with frightening musical sounds, and music in horror film frequently makes its audience feel threatened and uncomfortable through its sudden stinger chords and other shock effects. The essays in this collection address the presence of music in horror films and their potency within them. With contributions from scholars across the disciplines of music and film studies, these essays delve into blockbusters like The Exorcist, The Shining, and The Sixth Sense together with lesser known but still important films like Carnival of Souls and The Last House on the Left. By leading us with the ear to hear these films in new ways, these essays allow us to see horror films with fresh eyes.

As the former New York Times Critical Shopper, and voted one of Fashionista's 50 Most Influential People in New York Fashion, Cintra Wilson knows something about clothes. And in Fear and Clothing, she imparts her no-holds-barred, totally outrageous, astute, and hilarious wisdom to the reader. Wilson reports the findings of her "fashion road trip" across the United States, a journey that took three years and ranges across the various economic "belt regions" of America: the Cotton, Rust, Bible, Sun, Frost, Corn, and Gun Belts. Acting as a kind of fashion anthropologist, she documents and decodes the sartorial sensibilities of Americans across the country. Our fashion choices, she argues, contain a riot of visual cues that tell everyone instantly who we are, where we came from, where we feel we belong, what we want, where we are going, and how we expect to be treated when we get there. With this philosophy in hand, she tackles and unpacks the meaning behind the uniforms of Washington DC politicians and their wives, the costumes of Kentucky Derby spectators, the attractive draw of the cowboy hat in Wyoming, and what she terms the "stealth wealth" of distressed clothing in Brooklyn. In this smart and rollicking book, Wilson illustrates how every closet is a declaration of the owner’s politics, sexuality, class, education, hopes, and dreams. With her signature wit and utterly irreverent humor, Wilson proves that, by donning our daily costume, we create our future selves, for good or ill. Indeed: your fate hangs in your closet. Dress wisely.

From its earliest days as little more than a series of monophonic outbursts to its current-day scores that can rival major symphonic film scores, video game music has gone through its own particular set of stylistic and functional metamorphoses while both borrowing and recontextualizing the earlier models from which it borrows. With topics ranging from early classics like Donkey Kong and Super Mario Bros. to more recent hits like Plants vs. Zombies, the eleven essays in Music in Video Games draw on the scholarly fields of musicology and music theory, film theory, and game studies, to investigate the history, function, style, and conventions of video game music.

Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Commentary (music and lyrics not included). Pages: 28. Chapters: Talking Heads: 77, The Singles 1992-2003, Fear of Music, Return of Saturn, Everything in Time, The Name of This Band Is Talking Heads, Throwing Copper, Once in a Lifetime, The Distance to Here, Naked, True Stories, Speaking in Tongues, More Songs About Buildings and Food, The Gracious Few, The Raw and the Cooked, Sand in the Vaseline: Popular Favorites, Little Creatures, Awake: The Best of Live, God Shuffled His Feet, Mind Chaos, The Best of Talking Heads, Mental Jewelry, Pawn Shoppe Heart, Trouble Is..., No Talking, Just Head, Walk on Water, The Blind Leading the Naked, Stories of a Stranger, I'd Rather Eat Glass, Remember, Bonus Rarities and Outtakes, Teenage Graffiti, Shine, Soul Lost Companion, The Red and the Black, Casual Gods, Villains, Lost in the Former West, Rub It Better, Four Songs, Rip It Off, Once in a Lifetime - The Best of Talking Heads, Love. Excerpt: The Singles 1992-2003 is a compilation album by the American rock band No Doubt, produced by Nellee Hooper and released on November 25, 2003 on Interscope Records. It features thirteen of the band's singles from their later three studio albums-Tragic Kingdom, Return of Saturn, and Rock Steady-and the album track "Trapped in a Box" from their debut album, No Doubt. The album also included a cover of Talk Talk's song "It's My Life," which was the only new song on the album and which was released as a single. It is the band's final album to date and was released alongside the DVD Rock Steady Live, a video of a concert as part of the band's Rock Steady tour in 2002, and the box set Boom Box, which contained The Singles 1992-2003, Everything in Time, The Videos 1992-2003, and Live in the Tragic Kingdom. No Doubt went into hiatus in April 2003 after the release of four singles from their fifth studio album, Rock St...

In 2012, Thomas Gardner and Salomé Voegelin hosted a colloquium, entitled "Music - Sound Art: Historical Continuum and Mimetic Fissures", at the London College of Communication, University of the Arts London. This colloquium dealt with the current fervent debate concerning the relationship between sound art and music. This book proposes the opening of the colloquium to a wider readership through the publication of a decisive range of the material that defined the event.

Getting Your Music Past the Fear is for everyone who knows they have the music inside but feels strangled by fear every time they try to let it out. Veteran musician, songwriter, record producer and engineer Don Richmond explores the music and the multiple forms and manifestations of fear that prevent your music from coming out and doing its work in the world. The book contains both in-depth discussion exploring the root causes of fear and a section of exercises presenting many easily accessible, real-world techniques for dealing with fear's immediate effects. The discussion and exercises will help you get your music past the fear in a wide range of areas, including performance, songwriting, recording, business and promotion.

Examines the violence, destruction, and suppression that have hounded books throughout their history and the fears that lead to such treachery. This book identifies three deeply seated fears: fear of insurrection, fear of blasphemy, and fear of pornography.